Muslim women have been stereotyped by Western academia as oppressed and voiceless. This volume problematizes this Western academic representation. Muslim Women Writers from the Middle East from Out al-Kouloub al-Dimerdashiyyah (1899–1968) and Latifa al-Zayat (1923–1996) from Egypt, to current diasporic writers such as Tamara Chalabi from Iraq, Mohja Kahf from Syria, and even trendy writers such as Alexandra Chreiteh, challenge the received notion of Middle Eastern women as subjugated and secluded. The younger largely Muslim women scholars collected in this book present cutting edge theoretical perspectives on these Muslim women writers. This book includes essays from the conflict-ridden countries such as Iran, Iraq, Palestine, Syria, and the resultant diaspora. The strengths of Muslim women writers are captured by the scholars included herein. The approach is feminist, post-colonial, and disruptive of Western stereotypical academic tropes.

Music in Contemporary Indian Film: Memory, Voice, Identity provides a rich and detailed look into the unique dimensions of music in Indian film. Music is at the center of Indian cinema, and India’s film music industry has a far-reaching impact on popular, folk, and classical music across the subcontinent and the South Asian diaspora. In twelve essays written by an international array of scholars, this book explores the social, cultural, and musical aspects of the industry, including both the traditional center of "Bollywood" and regional film-making. Concentrating on films and songs created in contemporary, post-liberalization India, this book will appeal to classes in film studies, media studies, and world music, as well as all fans of Indian films.

Former high school classmates reckon with the death of a friend in this stunning debut novel. Along the Intracoastal waterways of North Florida, Daniel and Aubrey navigated adolescence with the electric intensity that radiates from young people defined by otherness: Aubrey, a self-identified "Southern cracker" and Daniel, the mixed-race son of Jamaican immigrants. When the news of Aubrey’s death reaches Daniel in New York, years after they’d lost contact, he is left to grapple with the legacy of his precious and imperfect love for her. At ease now in his own queerness, he is nonetheless drawn back to the muggy haze of his Palm Coast upbringing, tinged by racism and poverty, to find out what happened to Aubrey. Along the way, he reconsiders his and his family’s history, both in Jamaica and in this place he once called home. Buoyed by his teenage track-team buddies—Twig, a long-distance runner; Desmond, a sprinter; Egypt, Des’s girlfriend; and Jess, a chef—Daniel begins a frantic search for meaning in Aubrey’s death, recklessly confronting the drunken country boy he believes may have killed her. Sensitive to the complexities of class, race, and sexuality both in the American South and in Jamaica, All the Water I’ve Seen Is Running is a novel of uncommon tenderness, grief, and joy. All the while, it evokes the beauty and threat of the place Daniel calls home—where the river meets the ocean.

A presentation of the argument that fair political representation for disadvantaged groups requires their presence in legislative bodies, which states that this can be done without compromising principles of democratic freedom and equality.

Speech perception has been the focus of innumerable studies over the past decades. While our abilities to recognize individuals by their voice state plays a central role in our everyday social interactions, limited scientific attention has been devoted to the perceptual and cerebral mechanisms underlying nonverbal information processing in voices. The Oxford Handbook of Voice Perception takes a comprehensive look at this emerging field and presents a selection of current research in voice perception. The forty chapters summarise the most exciting research from across several disciplines covering acoustical, clinical, evolutionary, cognitive, and computational perspectives. In particular, this handbook offers an invaluable window into the development and evolution of the 'vocal brain', and considers in detail the voice processing abilities of non-human animals or human infants. By providing a full and unique perspective on the recent developments in this burgeoning area of study, this text is an important and interdisciplinary resource for students, researchers, and scientific journalists interested in voice perception.

Since September 11, public discourse has often been framed in terms of absolutes: an age of innocence gives way to a present under siege, while the United States and its allies face off against the Axis of Evil. This special issue of Social Text aims to move beyond these binaries toward thoughtful analysis. The editors argue that the challenge for the Left is to develop an antiterrorism stance that acknowledges the legacy of U.S. trade and foreign policy as well as the diversity of the Muslim faith and the dangers presented by fundamentalism of all kinds. Examining the strengths and shortcomings of area, race, and gender studies in the search for understanding, this issue considers cross-cultural feminism as a means of combating terrorism; racial profiling of Muslims in the context of other racist logics; and the homogenization of dissent. The issue includes poetry, photographic work, and an article by Judith Butler on the discursive space surrounding the attacks of September 11. This impressive range of contributions questions the meaning and implications of the events of September 11 and their aftermath. Contributors. Muneer Ahmad, Meena Alexander, Lopamudra Basu, Judith Butler, Zillah Eisenstein, Stefano Harney, Randy Martin, Rosalind C. Morris, Fred Moten, Sandrine Nicoletta, Yigal Nizri, Jasbir K. Puar, Amit S. Rai, Ella Shohat, Ban Wang

Fireflies is a book about how writing poetry can help us explore memory and identity, and it is also a book of poetry that explores memory and identity. This work is an example of the “liminal” scholarship advocated in The Need for Revision (2011, by the same author), occupying a space in the academic world’s “windows and doorways,” not exactly in any one field but rather in the “spaces-between where the inside and outside commingle”; it seeks to trouble the boundaries between teacher and writer, critic and artist, writer and reader, and teacher and student in a way from which all parties might benefit. Fireflies aims for a different kind of scholarship, and hopes to offer new ways for teachers to be professional and academic. The second section of the book is a full-length poetry text— the author’s own exploration of the notions that people who teach writing should also be writers, and that poetry is more something you do than something you are. The book says we should write poems not because of some inborn gift for it, but because the act of writing poetry is good for us, and helps us understand ourselves better; it is a book written in the hopes that other books will be written. Maybe by you. “David Owen has taken his understanding of currere, the root of curriculum, to a new level with his demonstration of the value of reading and writing poetry. He argues that writing poetry develops an ‘attitude of adventure’ into everydayness. As his first chapter ‘Songs of Ourselves’ suggests, we all can be Whitman’s if we take up our pens to celebrate what lives around us as well as in us. Owen demonstrates this theory with a calendar of poems he wrote that share small frozen moments of the seasons of a year. Connecting his memories with forays into night skies and fireflies and ‘the fractals that God makes,’ David Owen’s poetic images suggest that our deep connection with Earth can be recovered if we let a little more ‘oak in the voice’ of our words.” – Mary Aswell Doll, author of The Mythopoetics of Currere